Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-27T13:29:58Z No. of bitstreams: 2 Dissertação - Ezequiel Martins Ferreira - 2015.pdf: 1697686 bytes, checksum: 3c8570b7105b662793fd6faaeda93635 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-10-27T13:31:26Z (GMT) No. of bitstreams: 2 Dissertação - Ezequiel Martins Ferreira - 2015.pdf: 1697686 bytes, checksum: 3c8570b7105b662793fd6faaeda93635 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-10-27T13:31:26Z (GMT). No. of bitstreams: 2 Dissertação - Ezequiel Martins Ferreira - 2015.pdf: 1697686 bytes, checksum: 3c8570b7105b662793fd6faaeda93635 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-02-20 / The relationship between art and psychoanalysis is established since the emergence of the latter, throwing the concept of the unconscious world. On the way done in this dissertation is possible to question this relationship, following it from the following points: taking art as the biographical and autobiographical scheme, taking it as connected to sublimate and finally looking set it as the outline of the empty. In the latter sense has the art as a testimony of how the unconscious operates. To explain the unconscious manifestation in the art were used two tragedies that occupy a privileged place in very theoretical construction of psychoanalysis: Oedipus and Hamlet. For this, the authors were consulted from inside and outside the psychoanalytic field as Freud, Lacan, Rancière and Brecht. Note that the concept of pathos emerges as a nodal point, able to see through the plays, the unconscious operation. In addition to the parts, appear at the end of this dissertation, in order to continue the discussion of a "beyond the Oedipus complex," the four fundamental discourses as a third example of the unconscious functioning. / A relação entre a arte e a psicanálise se estabelece desde o surgimento desta última com o lançamento ao mundo do conceito de inconsciente. No percurso realizado nesta dissertação é possível problematizar essa relação, acompanhando-a a partir dos seguintes pontos: tomando a arte como o esquema biográfico e autobiográfico, tomando-a como vinculada ao sublimatório e, por fim, buscando defini-la como o contorno do vazio. Nesta última acepção, não desvinculada das anteriores, tem-se a arte como testemunha do modo como opera o inconsciente. A fim de explicitar a manifestação inconsciente na arte foram utilizadas duas tragédias, que ocupam lugar privilegiado na própria construção teórica da psicanálise: Édipo e Hamlet. Para isso foram consultados autores de dentro e de fora do campo psicanalítico como Freud, Lacan, Rancière e Brecht. Vale destacar que no meio das leituras o conceito de pathos surge como um achado e se coloca como ponto nodal, capaz de fazer ver, por meio das obras do teatro, a operação inconsciente. Além das peças, aparecem no final desta dissertação, a fim de continuar a discussão de um ―para além do complexo de Édipo‖, os quatro discursos fundamentais como um terceiro exemplo do modo de operar do inconsciente.

O texto da tragédia grega Édipo Rei de Sófocles, do século V a.C., permite até os dias de hoje inúmeros estudos sobre seu mito, face a tamanha riqueza existente em seu mitologema. Pressuposto a tantas pesquisas existentes, elaboramos uma visão inerente aos estudos realizados, compondo uma dissertação comparativa, revisitando o texto de Sófocles e incluindo uma nova ótica sobre a tragédia do rei de Tebas. Porém, antes de mergulharmos na essência do mito, procuramos entender a tragédia grega e seu período de existência. Da mesma forma, investigamos o homem Sófocles, artista e poeta na sociedade em que viveu, e suas relações sociais e políticas com seu amigo e estrategista Péricles. Ponto imprescindível da dissertação é a constatação de que Sófocles fundiu em um só personagem feminino a figura das duas esposas de Laio, condensadas em Jocasta. Tornada mãe e esposa de Édipo, o personagem de Jocasta aumentou profundamente o efeito dramático desejado pelo autor grego, criando um dos maiores textos trágicos da antiguidade que chegaram até hoje. Sem perder a essência do texto sofocliano, decodificamos o mito em suas diversas vertentes, situamos as condições sociais nas relações da mulher no século V a.C., e, assim, estabelecemos as relações que envolveram Édipo e Jocasta no conjunto poético da tragédia reelaborada por Sófocles. / The text of the Greek tragedy Oedipus Rex, by Sophocles, 5th century BC, allows us, until the present days, to make innumerous studies about its myth, due to the immense richness of its mythologem. Considering so many existing researches, we have elaborated a vision inherent to the studies already done, writing a comparative dissertation, revisiting Sophoclestext and throwing some new light upon the tragedy of the King of Thebes. However, before plunging into the essence of the myth, we have tried to understand the Greek tragedy and its existing context. In the same way, we have investigated the man Sophocles, artist and poet in the society he lived in, and his social and political relationship with his friend and strategist Pericles. The essential point of the dissertation is the thesis that Sophocles has melted, in a single feminine character, the profiles of the two wives of Laius, condensed in Jocasta. Transformed into mother and wife of Edipo, the character Jocasta deeply increased the dramatic effect desired by the Greek author, creating one of the greatest tragic text of antiquity that have arrived to present days. Without losing the essence of the sophoclean text, we have decoded the myth in its various aspects, contextualized the social conditions of the womens relations in the 5th century BC, and, finally, we have established the relations that involved Edipo and Jocasta in the poetic set of the tragedy re-elaborated by Sophocles.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-26T18:17:18Z No. of bitstreams: 1 rafaelleopoldo.pdf: 2583906 bytes, checksum: 56c51a04683d46beb28399ab1438c4fa (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-27T11:31:15Z (GMT) No. of bitstreams: 1 rafaelleopoldo.pdf: 2583906 bytes, checksum: 56c51a04683d46beb28399ab1438c4fa (MD5) / Made available in DSpace on 2016-07-27T11:31:15Z (GMT). No. of bitstreams: 1 rafaelleopoldo.pdf: 2583906 bytes, checksum: 56c51a04683d46beb28399ab1438c4fa (MD5) Previous issue date: 2015 / OBJETIVO: O principal objetivo deste trabalho é fazer um levantamento da crítica dos filósofos Gilles Deleuze e Félix Guattari ao psicanalista Sigmund Freud. Antes de adentramos neste principal objetivo, no entanto, perpassamos brevemente a constituição da Filosofia da Psicanálise, posto que este trabalho se encontra nesta linha de pesquisa. Colocado este elemento é analisado um pouco da história da psicanálise para compreendermos o local que Deleuze e Guattari se encontram. Diante destes pontos introdutórios nos voltamos a obra O Anti-Édipo: capitalismo e esquizofrenia. Neste livro delimitamos a crítica a psicanálise em seus principais elementos. Exposta a análise dos filósofos da obra freudiana fazemos um segundo movimento que é uma análise dos textos de Freud. Esta análise tenta perpassar e reconstituir os principais conceitos criticados pelos filósofos como, por exemplo, o desejo, o inconsciente, o complexo de Édipo e a castração. Esta reconstituição dos conceitos freudianos se dá na medida do possível sem a lente deleuzo-guattariana. Assim sendo, é admissível fazermos um terceiro movimento que é pensar a crítica de Deleuze e Guattari a Freud. / Objective: The main objective of this work is to analyze the critic of Gilles Deleuze and Felix Guattari to Sigmund Freud work. However, before we enter this main goal, we briefly see the constitution of Philosophy of Psychoanalysis, since this work is in this line of research. Set this point we see part of the history of psychoanalysis to understand the place of Deleuze and Guattari on it. After these introductory points we turn to the book Anti-Oedipus: capitalism and squizophrenia. In this book we delimit the criticism of psychoanalysis in its main elements. Exposed the analysis of Freud’s work made by the philosophers we make a second movement that is analyze Freud’s work. This analysis attempts to pervade and replenish the mains concepts criticized, for example, the desire, the unconscious, the Oedipus complex and Castration. This reconstitution of Freudian concepts is given as far as possible without the Deleuze-guattarian lens. Now, we have the possibility of one third movement that is to think the criticism of Deleuze and Guattari to Freud.

D.H. Lawrence’s novel Sons and Lovers, written in 1913 is an autobiographical novel that captures the Morel’s disharmonious family situation. Critics have many times looked at Mr. Morel and his behavior to offer an explanation for the disharmony. However, by applying a historical and socioeconomic, gender and psychoanalytical perspective to an analysis of Mrs. Morel this analysis will focus on her many actions and behavior in an attempt to offer another explanation for the disharmony in the narrative. The analysis will mainly focus on her relationship with her sons, especially Paul. The conclusion of the analysis shows that Mrs. Morel through her over attached relationship with Paul led to three main consequences: his mental downfall, his incapability to have normal relationships, and the collapse of his individuality.

This essay analyzes Esther Greenwood’s identity crisis, mental illness, and recovery in Sylvia Plath’s novel The Bell Jar (1963) from a feminist psychoanalytic perspective. The purpose is to understand the cultural and psychological mechanisms behind the main character’s situation. Esther is a talented and hardworking student who dreams of a literary career in 1950’s America. At the age of nineteen, events and realizations launch Esther into an identity crisis that leads to severe depression. Why she falls ill, and the nature of her illness and recovery, are up for interpretation. The thesis of this essay is that Esther Greenwood’s identity crisis, mental illness, and recovery can be explained using a feminist interpretation of Freud’s theories of hysteria and melancholia, and the development of the differences between the sexes, which includes the Freudian concepts of castration, bisexuality, and the Oedipus complex.

Sam Shepard was a playwright who used a variety of stories and styles to explore and understand the country he called home, The United States of America. This thesis launches the process of understanding how Greek tragedy had influenced the work of Shepard in his explorations by looking at Shepard’s final play before his passing, A Particle of Dread (Oedipus Variations). Using the concept of miasma that has been established as important to Greek tragedy to analyze A Particle of Dread and its primary source work, Oedipus Rex, this thesis reveals the extent of the ancient tragic form’s presence in Shepard’s last play. To do so, I approach the work in a combination of theory and practice. I first use dramaturgical analysis of Oedipus Rex, to explain what tragic role miasma has in Sophocles’ play. This is followed by a mirrored dramaturgical analysis of A Particle of Dread to uncover and compare what place miasma (and therefore tragedy) has in Shepard’s play. Following this is the review and analysis of five performance workshops exploring scenes of Shepard’s play which used a combination of performance and lighting to physicalize that dramaturgical work so as to further it and hopefully reveal new aspects through their embodiment. This dramaturgical and practical work results in the discovery of how and to what end Shepard has chosen to use the Grecian content style to analyze and commentate on Western society. The work also offers the chance to compare how the engagement with pollution has changed from the characters of 5th Century BCE Greece to 2014 America, and what that might mean for 2020 onwards.

Cette recherche propose une interprétation d’un corpus centré sur le roman Œdipe sur la route d’Henry Bauchau, mais en faisant référence aussi aux autres œuvres du cycle œdipien et aux journaux de l’écrivain. C’est un travail qui opère à un double niveau, celui d’un projet ontologique des personnages errants en quête d’identité, et celui des stratégies d’écriture. La première partie de cette étude, munie méthodologiquement des travaux théoriques sur le mythe, propose une définition des concepts, des relations du mythe avec la littérature, de l’évolution du mythe œdipien. Au centre de l’ouvrage, à l’aide d’une analyse comparative, argumentative, herméneutique et stylistique, nous nous concentrons sur le roman de Bauchau, Œdipe sur la route. Nous analysons les rêves d’Œdipe et de l’écrivain, la route de Thèbes à Colone, la transformation d’un roi déchu, incestueux et aveugle à un aède, un artiste, un héros tutélaire d’Athènes, les symboles, les personnages principaux œdipiens et la vision des Roumains sur le mythe d’Œdipe. La dernière partie analyse l’écriture de Bauchau : la polyphonie, l’anachronie, la mise en abîme, l’intergénéricité, le statut des personnages, la dimension onirique, tout cela dans la lumière de l’intertexte et du palimpseste en tant que modèle herméneutique. Donc, l’originalité de l’écriture bauchautienne est qu’au centre des récits surajoutés, se poursuit le récit mythique avec des parties composantes passées, réelles ou recomposées, au profit d’expériences nouvelles, d’un regard nouveau porté sur l’homme.Mots clés : Henry Bauchau, Œdipe, mythe, symbole, identité, errance, route, catharsis, intertextualité, écriture, rêve. / This research paper proposes a study of a corpus focused on the novel Œdipe sur la route by Henry Bauchau, but also referring to other works of the œdipal cycle and to the writer’s diaries. It is a study which operates on a double level that of an ontological project of the wandering characters in search for identity, for purification and that of writing strategies. The first part of this study, based methodologically on the theoretical works on myth, suggests a definition of concepts, of the relations of myth with literature, of the evolution of œdipal myth. In the centre of our work, with a comparative, argumentative, hermeneutical and stylistic analysis, we focus on Bauchau’s novel, Œdipe sur la route. We analyze Œdipus and the writer’s dreams, the road between Thebes and Colonos, the transformation from an incestuous, murderer and blind king to a bard, an artist, a tutelary hero of Athens, the main symbols and characters in the œdipal cycle and we present the Romanians’ point of view on Œdipus’ myth. The final part analyzes Bauchau’s writing: the polyphony, the anachrony, the mise en abîme technique, the intergenericity, the status of characters, the dream dimension. Everything converges to a poetics of oscillation, of doubt, of wandering. These are emphasized by an analysis in the light of inter-text and palimpsest as a hermeneutical model. Thus, the originality of Bauchau’s writing is that in the centre of added stories, Sophocles’s mythic story continues with past, real or recomposed parts, for the benefit of new experiences, of a new vision on man.Keywords: Henry Bauchau, Œdipus, myth, symbol, identity, wandering, road, catharsis, intertextuality, writing, dream.

O presente trabalho se propõe a pesquisar a gênese do conceito de superego na clínica e na metapsicologia freudiana. Partindo do sofrimento relacionado aos conflitos morais, esta dissertação acompanha a formulação do complexo de Édipo e da noção de identificação, e, estendendo-se até a segunda tópica, evidencia a relação do conceito de superego com a pulsão de morte. Neste percurso a dimensão cruel do superego é enfatizada. Por fim, questiona-se a possibilidade de conceituação de uma face benevolente do superego analisando os mecanismos presentes no humor / This study aims to investigate the genesis of the concept of superego in Freudian clinic and metapsychology. Starting from the suffering related to moral conflicts, this dissertation follows the formulation of the Oedipus complex and the notion of identification, and extending up to the second topic, shows the relationship of the concept of superego with the death drive. In this way the cruel dimension of the superego is emphasized. The final issue refers to the possibility of a conceptualization of a benevolent face of the superego, analyzing the mechanisms present in the humor

[pt] Esta dissertação tem como objetivo proceder a uma análise do livro O evangelho segundo Jesus Cristo, de José Saramago, romancista português contemporâneo, destacando a trajetória trágica e edípica da personagem central. Entendendo a obra de Saramago como um bildungsroman, que traz como principal tema o conflito de Jesus com a figura paterna, estabelece-se a comparação da trajetória deste herói mítico contemporâneo com o percurso de mítico de Édipo, o herói da tragédia sofocliana. Além disso, o trabalho procura destacar algumas características representativas do romance saramaguiano, como a utilização da paródia, da ironia e do intertexto para elaboração da dessacralização do discurso religioso. / [en] This work aims at analyzing the book The Gospel According to Jesus Christ, written by José Saramago, a Portuguese contemporary novelist. It emphasizes the tragic path of the central character and its similarity to the Oedipus trajectory. The novel is understood like a bildungsroman that brings as its principal theme Jesus conflict with his Father. The path of this contemporary mythical hero is then compared with Oedipus course, Sophocles tragedy hero. The essay also attempts to stress some representative features of Saramago´s novel, such as the use of parody, irony and inner text to desconstruct religious speech.

O presente trabalho se propõe a pesquisar a gênese do conceito de superego na clínica e na metapsicologia freudiana. Partindo do sofrimento relacionado aos conflitos morais, esta dissertação acompanha a formulação do complexo de Édipo e da noção de identificação, e, estendendo-se até a segunda tópica, evidencia a relação do conceito de superego com a pulsão de morte. Neste percurso a dimensão cruel do superego é enfatizada. Por fim, questiona-se a possibilidade de conceituação de uma face benevolente do superego analisando os mecanismos presentes no humor / This study aims to investigate the genesis of the concept of superego in Freudian clinic and metapsychology. Starting from the suffering related to moral conflicts, this dissertation follows the formulation of the Oedipus complex and the notion of identification, and extending up to the second topic, shows the relationship of the concept of superego with the death drive. In this way the cruel dimension of the superego is emphasized. The final issue refers to the possibility of a conceptualization of a benevolent face of the superego, analyzing the mechanisms present in the humor